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The ‘Mystery Sonatas’ consist of 15 short suites for
violin and continuo whose inspiration lies in the so-called 15 mysteries
of the Virgin Mary; effectively 15 meditations which are sometimes directly
programmatic and sometimes more elusive. They divide into three groups
of five. The Joyful Mysteries are based on episodes in Jesus’s early life,
the Nativity for example; the middle group are the Sorrowful Mysteries
like ‘The Crown of Thorns’ etc; and the final group are the Glorious Mysteries
which continue the story from the Resurrection to the Assumption and then
to the Coronation of the Virgin. The whole work is capped off by a grand
unaccompanied Passacaglia for Violin. The whole sequence lasts about two
hours and a quarter and is therefore on two discs. Sadly the middle group
of five has had to be divided, with the last one, the Crucifixion, on
the second disc.

Biber composed these works for Archbishop Max Gandolph.
Peter Holman, who I am delighted to find writing programme notes for this
disc as he has a proven track record of expertise in the field of 17th
Century instrumental music, tells us that "Biber pointed out in his
dedication that Max Gandolph was strongly in favour of the Rosary in Salzburg".
Also we learn that "the cycle was used in the traditional Rosary
devotions in September and October … and the faithful as they walked in
procession would have listened to appropriate biblical passages and commentaries
and to Biber’s music whilst meditating of their Rosaries". The manuscript
also contains fifteen elegant roundels, which were relevant to the subject
of each sonata. Nine of these have been reprinted in black and white and
are scattered around the booklet. There is also a musical quotation from
the Sonata XI and the violin tunings needed for each sonata are given.
Some are quite extraordinary. But what makes these sonatas virtuoso compositions
for the performer and (I am sure for the composer) is that once re-tuned
the notation remains as usual, to correspond with the continuo harmony.
This technique is called Scordatura and many violinists dread it. Walter
Reiter appears undaunted and unflappable, more so than any other player
I have ever heard. The reason for some of these tunings is quite obvious
and indeed programmatic. For example the beautiful ‘Ascension’ sonata
has a C major tuning, g-c-g-d. Contrast that with the 9th Sonata
‘Jesus carries his own cross’ in A minor, tuned to straining point c-e-a-e
in other words raised a 4th giving a rather strangled effect.

Apart from these unique sets of tunings there are other
programmatic elements in the music. The ‘Resurrection’ sonata is the only
one in one continuous and untitled movement. It begins in total stillness
- the dawn of Easter Morning. The free recitativic tempo gradually builds
so that in the brightness of the morning sun [c.2’15"] the empty
tomb is displayed. Then enters, at first quietly, the Easter Chorale melody
‘Surrexit Christus Hodie’. Incidentally the tuning in this sonata is so
odd that the effect is literally unearthly. In the ‘Ascension’ sonata
(number 12) the violinist is expected with his terrifically difficult
double stoppings to imitate a choir of trumpets in the ‘Aria tubicinium’
[track 7].

In the ‘Crucifixion’ sonata the rending of the veil over
‘the holy of holies’ is vividly portrayed (track 4).

Most of the sonatas have several movements and several
have dance titles. Some have Aria’s followed by Variations. Dances include
‘Allmans’ and ‘Correntes’ which are slipped curiously into movements like
‘The Visitation’ sonata and the ‘Nativity’ sonata. Presumably on the grounds
of ‘why should the devil have the best tunes?’

Praise cannot be too high for Cordaria. For me this is
quite simply the best recording of this music I have ever heard. Credit
should go of course to Walter Reiter. Timothy Roberts on the chamber organ
or harpsichord and Elizabeth Kenny on the theorbo along with Joanna Levine
on the gamba with Frances Kelly, a very experienced influence, on the
harp and Mark Levey on a Lirone make a ‘dream team’.

Their blend, sensitivity and recorded balance are always
immaculate, beautiful and at times tear-jerking. Highly recommended.

Gary Higginson

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